We see the first pages of the narrative through windows, one revealing snow-laden vistas and another, scenes drenched in rain, the windows of the House of Rain and Snow. From his room, Pushkar would gaze at these windows, orchestrating his day in harmony with the prevailing weather. This marks the inception of Srijato's novel, where, although the windows gradually draw back from the narrative, the enduring elements of moods and weather persist. Rain symbolises positivity, while snow, in Pushkar's mind, brings everything to a standstill. As the narrative unfolds, readers are taken to immerse themselves into Pushkar's world—a college-goer residing in rented quarters with his dysfunctional journalist father, engrossed in the realm of poetry but with no intention of really taking his interest further.

However Pushkar’s literary world opens up miraculously when one of his friends introduces him to Nirban, setting the young poet on the path to publication. Set against the backdrop of Bengal, the readers traverse familiar territory that of North Kolkata's alleys, with printers concealed behind the city's historic red-light district. Pushkar and his friends navigate the complexities of youth, grappling with matters of the heart and the pocket. Pushkar's heart belongs to Saheli, the only girl privileged to peruse his poems. Asmita finds herself ensnared in a traditional dilemma—loving a jobless boy while confronting an arranged marriage imposed by impatient parents. Meanwhile, Prita, blessed with a melodious voice, seeks guidance from her mentor, the uncompromising Ishita, a classical singer who is ignored by the world of awards because of her unyielding principles, despite the quality of her voice.

Srijato, hailing from a musical family and a poet himself, depicts worlds divided by promise and grief, akin to the rain and snow observed through the windows. Amidst the struggles of middle-class urban households, Pushkar yearns for his father's puja bonus to finance the publication of his poetry, slated for inclusion in an anthology crowdfunded by his friends to which he needs to contribute. The city, painted by Srijato, is shrouded in lockdowns and labour strikes, its temporal setting left undefined but easily surmised. Rain symbolises life, while snow signifies an icy stagnation that quells the desire to explore daily existence.

A House of Rain and Snow unfolds gradually, embracing shifts and changes in pace. It pauses to absorb letters from the characters to each other and, as the climax approaches, adopts a cinematic style with rapid cuts and succinct language drawn from the author's filmic experiences. While parts of the ending can be anticipated, the book, despite occasional disunity and moments of despair, centres around the theme of unity forged through words, threads, and notes—a celebration of life and poetry, akin to a guiding lamp for the soul.

Pushkar, the poet, roams the city's streets, discovering his kindred spirit in a milkweed tree. Briefly embracing its trunk and surreptitiously burying his dreams in its roots, he finds solace through the changing seasons.

Rooted deeply in the essence of Kolkata, A House of Rain and Snow opens Srijato's world to a broader audience through Maharghya Chakraborty's translation. Though minor quibbles with terms like 'ewer' for 'moori jar' arise, they are sporadic. Ultimately, readers will lose themselves in Srijato's transformative journey.